9:22 p.m.: Chance the Rapper is struggling to build musical momentum in his headlining set. The pacing is choppy and disjointed. In bursts, trumpeter Nico Segal provides solo firepower and Peter Cottontale's keys shadow the rapper's vocals. Vic Mensa joins for "Cocoa Butter Kisses," a pivotal song and moment for Chicago hip-hop. But despite all the gospel-infused backing vocals and empowering statements, the set lacks the thrust of Chance's finest, most intimate moments on stage with his excellent band, the Social Experiment. The size of the show demands spectacle and Chance tries to provide it, with a video intro and fireworks. But he gets the biggest charge out of the audience with a couple of statements. He says he will not allow the performance to be live-streamed because "I just want it to be me and Chicago" (even though a good portion of his Chicago fan base isn't in attendance). And later he urges the audience to speak truth to power, including Chicago's mayor. "You have all the power," he tells his audience. "Put pressure on politicians to put you first ... come at me, Rahm." (GK)

When Chance the Rapper was done headlining Lollapalooza in Grant Park on Saturday, he performed at an afterparty at Studio Paris Nightclub, above.

8:46 p.m.: The xx kept it moody, sultry -- opening with a thumping-but-stripped-down take on "Crystalized." Romy Madley Croft and Oliver Sim sang the song's final words "Go slow" like they meant it. The band clearly wanted to revel in its headlining set, not concerned with 85 percent of the crowd staking out the south end of the park for Chance the Rapper. Sim thanked the crowd, saying the band had "been so looking forward to this show." It didn't matter. A completely different experience was being created over there. The folks swaying to The XX knew how they wanted to end their Saturday night -- losing themselves in a very chill, sonic wave. Jamie xx knew exactly when to pull back, letting the bass and guitar play off each other, before dropping a muffled bass drum that still managed to pack a thump. The bass-driven disco weaving through 2017's "I See You" was a bit jarring after a set that had been keeping it relatively lowkey, but it fit. The most striking moment was when Madley Croft, solo, dedicated "Performance" to the LGBTQ community present at Lolla. Later, as a purple glow dressed the crowd, a dude ran by. "Nobody's here!" he shouted. Yeah, if only more people could've seen this. Damn, hometown hero headlining a major festival!

8:30 p.m.: Amazingly, there are people not at Chance the Rapper. Kaskade is huge for a reason. He's a pro. More importantly, his feel for mood and the kinds of beats that will work is usually unerring. Atmosperic opening built tension that seemed almost unbearable until -- a little taste of a giant '80s disco beat, and an astonishing light show. Through it all, tension ramped until, a full five minutes in, came the beat. Chicago artist, Chicago crowd. But more than that, Kaskade bridges that gap between knob twiddler and artist. In the same way a rocker sets up a set list to manipulate mood, a DJ such as Kaskade moves through tempos and rhythms, keeping everything centered in that stuff that gets your pelvis going. It's primal, and was effective as his set drew a steadily growing crowd to Perry's, and for good reason. House, disco, drum 'n bass and grime were all at Kaskade's disposal. This wasn't just beats, it was a show, complete with non-stop video, smoke and light display, all seamlessly synced with a mix designed to get you move. And if that didn't work, or if you were distracted by the actual fireworks coming from over at Chance the Rapper's set, there was even a Benny the Bull cameo. Because why not? And fire. Yes, fire.

7:45 p.m.: Sylvan Esso, a band I first saw play a very early afternoon set at Hideout's Block Party a mere three years ago, captivated a huge crowd from the start at Lollapalooza. Singer Amelia Meath had her signature dance moves on display, the kind you do when you're in your bedroom, throwing caution to the wind because your favorite song is on, and no one is watching. It's part of the band's appeal -- music that's just as enjoyable solo as it is when it's played at a party. That's how such a dedicated fan base was built after the release of 2014's self-titled debut; this year's "What Now" was released in April. Producer Nick Sanborn creates a sonic Tetris: letting beats drop, tumbling into a new shape as he strikes his keys. The percussion snaps, highlighting the punctuation of Meath's weathered but sweet vocal. The groove was real, the kids got it right. (JR)

7:43 p.m.: Banks is one of those rarities, a pop singer who has carved out a niche by playing it low-key, both musically and on social media. Along with kindred spirits such as Solange and the Weeknd, Banks traffics in furtive understatement. Dancers flex deliberate movements, as if physically embodying the tortured scenarios in the songs. Though her set is flavored with some relatively uptempo tracks such as "Trainwreck," she sounds most at home slinking through the shadows. It's not standard festival music, but Banks makes it work by drawing out the drama in heartache, and by building mood with a voice that finds a range of expression in understatement. (GK)

6:10 p.m.: A dad held his daughter, her head bobbing along as he danced a bit to the music. It was almost like he was introducing her to rock 'n' roll, she couldn't have been older than three. The only problem? The rock 'n' roll was the band Live. Frontman Ed Kowalczyk, known for vocal grandeur, has an aged huskiness to his vocal, it's less clear, his lyrics less enunciated. While used well on a bluesy, electric cover of Johnny Cash's "Ring of Fire," he often sounded tired. The big, arena-friendly anthems were driven by a repetitive, acoustic guitar. Fans standing around openly discussed how they had seen the band play in wineries -- a sign of how most late '80s/early '90s alternative rock bands and their fan bases have fared over time. But the thing about Live is, while you may only know "I Alone," it's still oddly powerful. The drama is still there, if not a little older. The band in no way steps outside of their grungy, hard rock box, but just hearing that one song makes you glad you stopped to listen. (JR)

5:55 p.m.: Georgia MC Russ draws a huge crowd, including a bunch of tree climbers putting themselves in peril while straining to get a better look. Both his strained singing and rapping aren't particularly distinguished, but the fans are ready to bark the verses of hits like "What They Want" back at him. And they gleefully join in when Russ leads them in a chant of "f--- MTV" because he believes the cable network slighted him for its best new artist award. Here's guessing MTV will get over it. (GK)

5:15 p.m.: When a modern rock duo takes the stage, it's hard not to draw comparisons to others: The White Stripes (obviously, but not necessarily a deserving precedent), Drenge, Deap Vally, etc. In a way, it's comforting. It's reassuring to know that two people -- bassist/guitarist/keyboardist Mike Kerr and percussionist Ben Thatcher of Royal Blood -- can make just as much noise, raise just as much hell, and be as compelling at acts with five or more members (looking at you, Arcade Fire). But at the same time, the shortcomings of having only two people are amplified. The band Royal Blood, which formed only four years ago, has pummeled its brand of hard rock -- big bass, drop-tuned blues riffs finding their way against a wall of drums -- into two albums. It's aggressive, it evokes a visceral reaction as all good rock 'n' roll should, but it sticks in its lane. At least it felt heavy.

3:41 p.m.: Alvvays closes its set with its latest single, "Dreams Tonite," which sounds of a piece with the songs from its acclaimed 2014 self-titled debut album. Singer Molly Rankin floats innocent-sounding melodies over guitars that split the difference between fuzz and jangle. The Toronto band channels the harmony-heavy guitar-pop favored by a gaggle of British indie bands in the '80s, including the Shop Assistants and the Primitives. Rankin has a gift for ingratiating stage patter and the good vibes permeate the songs as well. One could wish for a little more underlying tougness, a mix that gives the guitars a little more bite, but the songs remain difficult to deny. (GK)

3:15 p.m.: Swedish, pop phenom Zara Larsson garnered a massive -- I mean huge -- crowd of millennials, immediately making her set feel like a novelty (Shrewd, Lolla). Her set did exemplify the far shift this festival has made since its inception. There's nothing alternative or unique or "underground" about Larsson's music, which is unfortunate since her voice sounds much bigger than the songs it's singing. While some may read this and think "Duh," it still feels out of place and actually does a disservice to Larsson's talent and obvious pop starpower. She's not like Charli XCX, who at least attempts to hide shards of glass in her bubblegum pop, Larsson, at 19, is still growing, still singing about hope and true hearts. (JR)

Ron Gallo explains to Janine Schaults at Lollpalooza 2017 how his latest song is a call for men to keep their hands to themselves. (Roger Morales / Chicago Tribune)

Ron Gallo explains to Janine Schaults at Lollpalooza 2017 how his latest song is a call for men to keep their hands to themselves. (Roger Morales / Chicago Tribune)

2:15 p.m.: Ron Gallo's set is just underway and already he is making his guitar sound like a backfiring Harley and speaking and singing in tongues. The singer-guitarist with the haywire hair and sunglasses looks like he just stepped off stage at the Grande Ballroom in Detroit with the MC5, circa 1969. But his sonic daring and lyrics are the work of a contemporary provocateur. He takes dead aim at misogynists in "Entitled Man Keep Your Hands Down Your Pants." Echoing some of the same sentiments expressed by Run the Jewels' Killer Mike the day before, Gallo turns his stage into a zero-tolerance zone for frat-boy shenanigans. And he delivers a kind of talking-blues critique of the music business and an artist's role in it. Is the mission just to leave behind "an impressive collection of digital remarks"? But the finger-pointing is balanced by a crash-and-burn guitar trio unafraid to erect the near-perfect riff-melody-rhythm architecture of a song such as "Young Lady, You're Scaring Me," and then tear it apart, before blowing up the Beatles' "Helter Skelter." The guitar solo with fire extinguisher is an unexpected bonus. (GK)

2:15 p.m.: Warpaint hath not time for your shenanigans. Can we get an "Amen" for Stella Mozgawa, the percussive dynamo who flogs Warpaint along like a beast in thrall to the backbeat? Each and every time Warpaint's electropop knocked at the door of drabness -- KABOOM. "Is it too early to dance," asked Theresa Wayman, before Mozgawa cut loose again. This is what San Fermin could aspire to -- legitimately dynamic electropop that even if it isn't memorable, will get your feet tapping, unbidden. Two-part harmonies and jangly guitars croon and surge and hooks abound, and you don't even mind wondering if they just played that song before. Because that backbeat, people. That BACKBEAT. (KM)

1:45 p.m.: The Manchester band Blossoms sounds far too small for the giant stage it tries to occupy. The quintet's dandelion-soft songs sound like they'd vanish into the sky with a summer breeze. Wispy melodies hang limply over the park and then singer Tom Ogden announces, "We're going to play a slow one." Sure enough "My Favorite Room" lives up to its less-than-thrilling introduction. On "Deep Grass," Ogden and his bandmates slip in a snippet of the Beatles' "I Want You (She's so Heavy)" but it just sounds tacked on. (GK)

Mac DeMarco tells Janine Schaults about an unfortunate event that happened to him in a Chicago Starbucks over Lollapalooza weekend.

Mac DeMarco tells Janine Schaults about an unfortunate event that happened to him in a Chicago Starbucks over Lollapalooza weekend.

1:30 p.m.: Violin, trumpet, baritone sax, all part of an ambitious attack that must have been a challenge for the sound tech, who deserves a pat on the back. Shame it couldn't have gone to a higher calling. San Fermin's amiable-but-benign, sluggish electro pop is the perfect thing for mid-afternoon nappy time. It's a pleasant sound, all mid-tempo beats and an elegant vocal tandem in Elis Ludwig-Leone and Charlene Kaye. You Poi Dog Pondering fans will feel right at home with these ambitious ditties that, in the live setting, get pumped up with BIG drums. But listen closely, and there isn't much there. Street festival? Sure. You can get corn dogs while San Fermin does its thing in the background. A major festival such as Lollapalooza presumes better songs and something above the level of "nice." (KM)

Scenes from the early afternoon of the third day of Lollapalooza on Aug. 5, 2017, in Chicago’s Grant Park. (Alexandra Wimley/Chicago Tribune)

Scenes from the early afternoon of the third day of Lollapalooza on Aug. 5, 2017, in Chicago’s Grant Park. (Alexandra Wimley/Chicago Tribune)

12:50 p.m.: Ten people were arrested, 56 festivalgoers were sent to local hospitals and six citations were written Friday, the second day of Lollapalooza, according to the Chicago Office of Emergency Management and Communications. The arrests were for aggravated battery to a police officer, drugs and trespassing. The citations were for fence jumping and trespassing. There were more arrests Friday compared to Thursday, but fewer people were sent to hospitals. Fifteen festivalgoers visited the Rush University Medical Center emergency room for alcohol-related ailments. A representative for Lurie Children's Hospital reported one person was admitted with alcohol intoxication Friday. On the second day of Lollapalooza last year, there were seven arrests, four citations and 79 transports to local hospitals. (TS)

12:45 p.m.: Another band harking back to rock's golden age, Los Angeles-based The Shelters hit the stage, putting their Tom Petty-cosign on display. If your dad went to Lolla and stumbled upon this band, he'd be stoked. Echoing the likes of The Kinks -- with Boston-esque riffs dropping into a swirling duel of two guitars versus one bass, and a vocalist/guitarist serving a rockabilly look -- The Shelters were a hodge-podge of classic rock hooks and iconography. They did sound more fresh when the bass and drums took the lead, a deep rumble shaking the stage. Whether that helps them (it didn't within these three days of Lolla, which featured multiple throwback rock acts) or hurts them, at least it was homage done well. (JR)

More than 170 bands performed in Grant Park in Chicago for Lollapalooza 2017. Headliners included Chance the Rapper, Arcade Fire, Muse, Lorde and The Killers.

12:01 p.m.: The rock trio from Boston describes itself as "fuzzy" in its Twitter profile, but the women of Lady Pills on stage were anything but. Taking off like a rocket, tales of relationships gone sour gripped the crowd's attention, then promptly lost it. Ah, the unintended consequences of an ill-sequenced setlist. A lingering, gleaming up-and-down on your guitar is only so fun before something else happens. It does sound much better loud though (thanks, sound tech!). Berklee College of Music-educated founders, bassist/vocalist Alison Dooley and guitarist/vocalist Ella Boissonnault know how to play and effectively feed off each other, but it sounds too disconnected to be part of the same set. Dooley's sweeping, trained vocal has a completely different energy than Boissonnault's sparky delivery, emboldened by a PJ Harvey-like heaviness. Maybe with Lady Pills, time will tell if one can't live without the other, but I hope the shredding brashness wins out. It's really good. (JR)

Tribune critic Greg Kot remembers the times in Lollapalooza's history when the festival was anything but drama-free.

(Chicago Tribune)

Lollapalooza has a knack for booking under-the-radar performers just before they hit it big with Grammy nominations, "Saturday Night Live" musical guest spots and international adoration. Tribune critic Greg Kot looks at the fresh faces who wowed crowds in Grant Park before becoming household names.